Rafael

Moneo
On Typology 關於類型學
I
I

To raise the question of typology in architecture is to raise a question of the nature of the 提出建築類型學問題，就是提出建築作品本身的性質問題。 對每一代人來說，要回
architectural work itself. To answer it means, for each generation, a redefinition of the
essence of architecture and an explanation of all its attendant problems. This in turn 答這個問題，就意味著重新定義建築的本質，並解釋與之相關的所有問題。 這反過
requires the establishment of a theory, whose first question must be, what kind of object 來又要求建立一種理論，其首要問題必須是：建築作品是什麼樣的物體？ 這個問題
is a work of architecture? This question ultimately has to return to the concept of type. 最終還是要回到類型的概念。
On the one hand, a work of architecture has to be considered in its own right, as an
entity in itself. That is, like other forms of art, it can be characterized by a condition of 一方面，建築作品本身必須被視為一個實體。 也就是說，與其他藝術形式一樣，建
uniqueness. From this point of view, the work of architecture is irreducible within any 築作品也有其獨特性。 從這個角度來看，建築作品在任何分類上都是不可還原的。
classification. It is unrepeatable, a single phenomenon. Stylistic relationships may be 建築實體不僅具有可重複性，而且呈現出可
它是不可重複的，是一種單一的現象。 與其他形象藝術一樣，建築作品之間也可能
recognized among architectural works, as in the other figurative arts, but they do not
imply a loss of the singularity of the object. 存在風格關係，但這並不意味著失去了物件的獨特性。 以複製的特性。
它所經歷的任何變化都是隨著時間推移，在
On the other hand, a work of architecture can also be seen as belonging to a class of
repeated objects, characterized, like a class of tools or instruments, by some general
另一方面，建築作品也可以被視為屬於一類重複的對象，就像一類工具或器械一樣 任何手工藝品中都能找到的獨特性。
attributes. From the first hut to the archaic stone construction, primitive architecture ，具有某些一般屬性。 從最初的茅屋到古老的石頭建築，原始建築都將自己視為一
conceived of itself as an activity similar to other kinds of craftsmanship, such as the 種類似其他手工藝的活動，如紡織品、陶器、籃子等的製作。 這種活動的最初產品，
making of textiles, pottery, baskets, and so on. The first products of this activity, which we 我們現在稱之為建築，與工具或器械沒有什麼區別：建造一座原始小屋需要解決形
in retrospect have called architecture, were no different from instruments or tools:
building a primitive hut required solving problems of form and design similar in nature to
式和設計問題，其性質與編織籃子（即製作有用的物品）類似。 因此，就像籃子、盤 形式本身呈現出了建築的時間性。
those involved in weaving a basket, that is in making a useful object. Thus, like a basket 子或杯子一樣，建築物件不僅可以重複，而且意味著可以重複。 它所發生的任何變 形式特徵表現出了經過時代演變至今的性質，
or plate or cup, the architectural object could not only be repeated, but also was meant to 化都是隨著時間的推移可以在任何手工藝產品中發現的特殊性。 從這個意義上說，
be repeatable. Any changes that developed in it were particularities that could be found
建築物品的獨特性被否定了。 從這個角度來看，一件建築作品、一棟建築、一棟房
可以被直接辨識（紀念碑、杯子...），可以對此特
in any product of craftsmanship over time. In this sense, the uniqueness of the
architectural object was denied. From this point of view a work of architecture, a 屋--就像一艘船、一個杯子、一頂頭盔--可以透過形式特徵來定義，這些形式特徵表 徵進行複製。
construction, a house--like a boat, a cup, a helmet-can be defined through formal 達了從生產到使用過程中的問題，並允許對其進行複製。 可以說，建築物品的本質
features, which express problems running from production to use, and which permit its
在於其可重複性。
reproduction. In these terms it can be said that the essence of the architectural object 這邊是包含了機能上的使用。
lies in its repeatability.
為建築對象命名的行為本身也是一個過程，從語言的本質上講，它不得不被典型 建築形式也包含了其機能？
The very act of naming the architectural object is also a process that from the nature of
language is forced to typify. The identification of an architectural element like "column,"
化。 對一個建築元素（如 "柱子"）或整座建築（如 "法院"）的識別，意味著具有共同特
or of a whole building---"courthouse"-implies an entire class of similar objects with 徵的同類物件的整個類別。 這意味著語言也隱含著類型的概念。
common characteristics. This means that language also implicitly acknowledges the
concept of type.
那什麼是類型呢？ 最簡單的定義是，它是描述一組具有相同形式結構特徵的物體 「類型」是描述一組物體，這組物體具有相同形
What then is type? It can most simply be defined as a concept which describes a
group of objects characterized by the same formal structure. It is neither a spatial
的概念。 它既不是空間圖，也不是序列表的平均值。 從根本上說，它是基於透過某 式結構特徵的概念。
diagram nor the average of a serial list. It is fundamentally based on the possibility 些固有的結構相似性對物件進行分組的可能性。 甚至可以說，類型意味著分組思考 「類型學」是一系列建築的比較，透過形式特徵
of grouping objects by certain inherent struetural similarities. It might even be
said that type means the act of thinking in groups. For instance, one may speak of
的行為。 例如，我們可以籠統地談論摩天大樓，但分組的行為會促使我們把摩天大 的相似性、差異性，來思考建築整體並分組、分
skyscrapers in general; but the act of grouping pushes toward speaking of 樓說成是巨大而扭曲的文藝復興宮殿、哥德式塔樓、支離破碎的金字塔、定向的石 類，而隨著更準確的分類，會回到該建築的名
skyscrapers as huge, distorted Renaissance palaces, as Gothic towers, as
板....。 然後，隨著分類越來越精確，人們會引入其他層次的分組，從而描述出新的
fragmented pyramids, as oriented slabs....
Then, as one becomes increasingly precise, one introduces other levels of 類型等級。 最後，我們會給出具體建築的名稱"。因此，類型的概念表面上排除了個 稱。
grouping, thus describing new ranks of types. One fnishes with the name of a
specifie building." Thus the idea of type, which ostensibly rules out individuality,
性，但最終還是要回歸到單件作品的本源。
in the end has to return to its origins in the single work.

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Architecture, however-the world of objects created by architecture-is not only described
by types, it is also produced through them. If this notion can be accepted, it can be
然而，建築--由建築創造的物體世界--不僅是由類型描述的，也是透過類型產生的。
understood why and how the architect identifies his work with a precise type. He is 如果能夠接受這個概念，我們就能理解建築師為何以及如何將自己的作品與精確的 格式塔學派是心理學重要流派之一，興起於 20世紀初
initially trapped by the type because it is the way he knows. Later he can act on it; he can
destroy it, transform it, respect it. But he starts from the type. The design process is a
類型連結起來。 他最初被類型所困，因為這是他所知道的方式。 之後，他可以對其 的德國，又稱為完形心理學。
way of bringing the elements of a typology-the idea of a formal structure-into the precise 採取行動；他可以摧毀它、改造它、尊重它。 但他是從類型開始的。 設計過程是將類 由馬科斯 ·韋特墨（ 1880－1943）
state that characterizes the single work. 型學的元素--形式結構的概念--帶入作為單件作品特徵的精確狀態的一種方式。 沃爾夫岡 ·苛勒（1887－1967）
But what precisely is a formal structure? One could attempt a series of opposing
科特·考夫卡（ 1886－1941）三位德國心理學家在研究
definitions. First the aspects of the Gestalt could be emphasized. This would mean 但何為形式結構？ 我們可以嘗試一系列相反的定義。 首先，可以強調格式塔（完
speaking about centrality or linearity, clusters or grids, trying to characterize form in 似動現象的基礎 上創立。格式塔是德文 Gestalt的譯音
terms of a deeper geometry. In this sense, certain texts have described all covered 形）的各個面向。 這意味著要談論中心性或線性、群組或網格，試圖從更深層的幾何
centralized spaces, from the primitive hut to the Renaissance dome to that of the 角度來描述形式的特徵。 從這個意義上說，某些文獻將所有被覆蓋的中心化空間，
，意即「模式、形狀、形式」等，意思是指「 動態的整體
nineteenth century, as being of the same "type."2 This however reduces the idea of type
as formal structure to simple abstract geometry. But type as a formal structure is, in 從原始小屋到文藝復興時期的穹頂，再到十九世紀的穹頂，都描述為相同的 "類 （dynamic wholes）」。
contrast, also intimately connected with reality--with a vast hierarchy of concerns running
from social activity to building construction. Ultimately, the group defining a type must be
型"。 然而，這將類型作為形式結構的概念簡化為簡單的抽象幾何。 然而，與此相反
rooted in this reality as well as in an abstract geometry. This means, for example, that ，作為形式結構的類型也與現實密切相關--從社會活動到建築施工，都與現實有著 格式塔學派主張人腦的運作原理屬於整體論，「整體
buildings also have a precise position in history. In this sense nineteenth century domes 千絲萬縷的聯繫。 最終，定義類型的群體必須植根於這種現實以及抽象幾何。 舉例 不同於其部件的總和」。例如， 我們對一 朵花的感知，
belong to an entirely different rank of domes from those of the Renaissance or Baroque
periods, and thereby constitute their own specifie type. 來說，這意味著建築物在歷史上也有其確切的位置。 從這個意義上說，十九世紀的 並非純粹單單從對花的形狀、顏色、大小等感官資訊
This leads directly to the concept of a typological series that is generated by the
穹頂與文藝復興或巴洛克時期的穹頂屬於完全不同的穹頂等級，從而構成了自己的 而來，還包括我們對花過去的經驗和印象，加起來才
relationship among the elements that define the whole. The type implies the presence of 特定類型。 是我們對一 朵花的感知。
elements forming such a typological series and, of course, these elements can
themselves be further examined and considered as single types; but their interaction
這直接引出了類型學系列的概念，它是由定義整體的元素之間的關係所產生的。 類
defines a precise formal structure.
型意味著構成這種類型學系列的元素的存在，當然，這些元素本身也可以進一步研
「類型」並非只是形式結構簡化的抽象幾何，還必須包
Thus, Brunelleschi introduced the lantern as a logieal termination of the dome at 究，並被視為單一類型；但它們之間的相互作用定義了一種精確的形式結構。 含過去歷史、活動等社會現實事件。
Florence, and this form was imitated for almost three hundred years. The relationship
between the classical dome and post-Gothic lantern should be considered as one of the
most characteristie features of Renaissance and post Renaissance domes, giving them
因此，布魯內萊斯基在佛羅倫斯引入了燈籠作為穹頂的邏輯終點，這種形式被模仿
a certain formal consistency. When Enlightenment architects worked with domes they 了近三百年。 古典穹頂和後哥德式燈籠之間的關係應被視為文藝復興時期和後文
entirely changed the relationship between the elements that defined the formal 藝復興時期穹頂的最大特徵之一，使它們在形式上具有一定的一致性。 啟蒙運動時
strueturedome and lantern-thus generating a new type. Types are transformed, that is,
one type becomes another, when substantial elements in the formal strueture are
期的建築師在設計圓頂時，完全改變了穹頂和燈籠這兩種形式結構元素之間的關係
changed.3 ，從而產生了一種新的類型。 當形式結構中的重要元素發生變化時，類型就發生了
轉變，也就是說，一種類型變成了另一種類型。
One of the frequent arguments against typology views it as a "frozen mechanism" that
denies change and emphasizes an almost automatie repetition.' However, the very
concept of type, as it has been proposed here, implies the idea of change, or of 反對類型學的一個常見論點認為，類型學是一種 "凍結的機制"，它否認變化，強調
transformation. The architect identifies the type on or with which he is working, but that 近乎自動的重複。 然而，這裡提出的類型概念本身就意味著改變或轉變。 建築師識
does not necessarily imply mechanical reproduction. Of course, the typological approach
per se does not clemand constant change; and when a type is firmly consolidated, the
別他所依據或使用的類型，但這並不一定意味著機械複製。 當然，類型學方法本身
resultant architectural forms preserve formal features in such a way as to allow works of 並不要求不斷變化；當一種類型被牢固地鞏固下來時，由此產生的建築形式就會保
architecture to be produced by a repetitive process, either an exact one as found in 留形式特徵，從而使建築作品能夠透過重複的過程產生出來，這種過程 可以是工業
industry, or an approximate one, as found in craftsmanship. But the consistency and
中的精確過程，也可以是手工藝中的近似過程。 但是，在這種情況下，形式的一致
stability of forms in such instances need not be attributed to the concept of type; it is just
as possible to conclude that the struggle with an identical problem tends to lead to 性和穩定性不必歸因於類型的概念；同樣可以得出這樣的結論：與相同問題的鬥爭
almost identical forms. Or in other words, stability in a society-stability reflected in 往往會導致幾乎相同的形式。 換句話說，社會的穩定性--反映在活動、技術和形像
activities, techniques, images-is mirrored also in architecture. 中的穩定性--也反映在建築中。

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The concept of type is in itself open to change insofar as it means a consciousness of 類型的概念本身是可以改變的，因為它意味著對實際事實的認識，當然也包括對改
actual facts, including, certainly, a recognition of the possibility of change. By looking at
architectural objects as groups, as types, susceptible to differentiation in their secondary 變可能性的認識。 透過將建築物件視為可在其次要方面加以區分的群體和類型，就
aspects, the partial obsolescences appearing in them can be appraised, and 可以對其中出現的部分過時之處進行評估，從而採取行動加以改變。 因此，類型可
consequently one can act to Change them. The type can thus be thought of as the frume 以被視為變革的源泉，是歷史所帶來的持續變革的必要條件。 從這個角度來看，類
aoithin hich change operates, a necessary term to the continuing sinlectic rejuired by
histery. From this point of view, the type, rather than being a "frozen mechanism" to
型並不是一種生產建築的 "凍結機制"，而是一種否定過去的方式，也是一種展望未
produce architecture, becomes a way of denying the past, as well as a way of looking at 來的方式。
the future.

In this continuous process of transformation, the architect cean extrapolate from the
在這不斷轉變的過程中，建築師可以從類型中推斷，改變其用途；他可以透過規模
type, changing its use; he can distort the type by means of a transformation of scale; he 的轉變來扭曲類型；他可以重疊不同的類型來產生新的類型。 他可以在不同的環境
can overlap different types to produce new ones. He can use formal quotations of a 中使用對已知類型的正式引用，也可以透過徹底改變已使用的技術來創造新的類
known type in a different context, as well as create new types by a radical change in the
型。 各種不同的機制不勝枚舉，這正是建築師創造力的展現。
techniques already employed. The list of different mechanisms is extensive--it is a
funetion of the inventiveness of architects.
建築發展中最令人興奮的時刻莫過於新類型的出現。 建築師最偉大的努力之一，也
The most intense moments in arehitectural development are those when a new type 是最值得欽佩的，就是當他放棄一種已知的類型，明確地開始發展一種新的類型。
appears. One of the architect's greatest efforts, and thus the most deserving of
admiration, is made when he gives up a known type and clearly sets out to formulate a
通常情況下，外部事件，如新技術或社會變革，是促使他按照與歷史的辯證關係創
new one. Often, external events such as new techniques or changes in society--are 造新類型的原因。 但有時，新類型的發明是一種特殊個性的結果，它能夠以自己的
responsible for impelling him toward this ereation of a new type, in accordance with a 聲音進入建築。
dialectical relationship with history. But sometimes the invention of a new type is the
result of an exceptional personality, capable of entering into arehitecture with its own
voice.5 當一種新的類型出現--當建築師能夠描述一組新的形式關係，從而產生一組新的建
築或元素--那麼這位建築師的貢獻就達到了建築學作為一門學科 所特有的通用性
When a new type emerges--when an architect is able to describe a new set of formal
和匿名性的程度。
relations which generates a new group of buildings or elements-then that architect's
contribution has reached the level of generality and anonymity that characterizes
arehitecture as a discipline.